This work was made by the American artist Edward Hopper in 1921 and is currently part of the collection of paintings at the Whitney Museum of Art in New York.
Many of Hopper's works are highly suggestive images, generally set in interior spaces and with isolated and unique figures. All this occurs in this oil. We see a woman absolutely starring in the scene but she turns her back to us, who by the way is partially naked and with her shoulders and neck exposed. From her posture and the gesture of her arm, we can guess that she is sewing something on her knees. And you can almost tell it's a piece of clothing she just took off to mend.
Interior of New York by Edward Hopper
We can think that we are peeking at her, almost as if we were voyeurs. And that is the feeling that the author wanted to provoke in us. This is due to the indefiniteness of the room, the most everyday and carefree attitude of the woman, or the presence of the two dark stripes that frame the scene.
In the same years that Hopper painted this painting, he often frequented the studio of the sculptress and tycoon Gertrude Vanderbilt Whitney, which since 1914 had been organizing exhibitions featuring young American artists. And in fact, one of the first to join this Whitney Studio Club was theHopper himself.
Over time, that came to be the germ of the current Whitney Museum in New York where this canvas is today. But before that, the club served as a meeting point, for exhibition and also for training, since Hopper received nightly drawing lessons there, since he wanted to improve his works of male and female nudes.
Hopper considered that drawing was the best way to analyze the smallest details, and from the many drawings that have been preserved of him we can say that he came to widely dominate that facet of painting. However, his works are not characterized by their drawing, instead they seem much more dominated by color, and above all by light.
The dim light that gives many interior scenes, as in this case. A light that not only serves to model the forms of his figures, it is also a key element for the psychological and pictorial inquiries that he proposes to us with his works.